TheatreAddict.com - Bakersfield Drama Blog

View the full gallery at http://www.theatreaddict.com/gallery/v/emptyspace/diemommy/

This week on Bakersfield Theatre Radio we're bringing you a full preview of all of the shows playing in July around town. Featuring six exclusive interviews with directors at several different venues. They are:

David Zent - The Very Best of Gilbert & Sullivan - Jewel Box
Hal Friedman - The History of Rock & Roll - Spotlight
Sarah Downey - Pinocchio - BCT
John Johansen - High Society - Stars
James Mongold - Sam Sleuth & The Fall of the Coffee Baron - Gaslight
Maria Mercado - Rowing To America - Empty Space

To listen, visit http://www.theatreaddict.com/podcast.htm

This is part 2 in a multi-part series of discussions on the state of live theatre in Bakersfield by local thespian and educator Rob Long. It is our shared purpose that this series should inspire dialogue and improvement in the areas discussed and be contructive in nature. You can contact Mr. Long on myspace by clicking the link in his name above. If you would like to publicly contribute to this discussion, feel free to email your thoughts to me at aaron@theatreaddict.com

(Disclaimer: This blog is not meant to be inflammatory. I am not trying to start any flame wars, or stir the pot with any of the parties that may be discussed in this series. Some of the statements may be controversial, and you may disagree with them. They are not meant to be personal attacks, and I'd appreciate it if, if you choose to respond, that you not make any personal attacks by way of rebuttal... That said, I invite healthy, open discussion and debate that is intended to diagnose problems, become aware of the strengths and flaws of Bakersfield theatre, and actually develop realistic shared ideals about where to go and how to improve the arts community here in our corner of Oklahoma West. This blog is meant to be positive and constructive. Help a brotha out here.)

There's no way for an amateur writer like me to do a thorough analysis of Bakersfield theatre. BCT has been around for 80 years now, I think, and BCLO/BMT/Stars is somewhere in its thirties. Throw into that mix all the educational theatre venues, and there's a whole lot of Bakersfield theatre history out there that I don't know and wasn't a part of. I'm not going to do the research, and I'm not sure how important it is to the goal of the writing anyway. I'm looking to analyze the landscape of Bakersfield theatre in a way that looks at the major players in the game - how we got here, what here is, where the niches are, what's missing, and how new theatre comes forward. This is based on my perspective, and my perspective can only be related through the filter of my experience. That's a given. My experience isn't flawless, therefore, neither is my perspective. What follows will be how _I_ see things, as a possibly representative outsider's opinion on how Bakersfield theatre works.

And yes, I am an outsider. I tend to not audition for plays. I tend to not direct unless invited to. I tend to stick to a few collaborators that I have always enjoyed working with, who I trust to direct me, and who I trust to turn out a quality product that utilizes the resources I have to offer. And down the line, I'll get into the type of theatre that I support, the type that I go SEE... so beyond those projects I do with my long time collaborators and the improv I occasionally do, I don't do a lot of theatre. I tend to stay outside the community. I do maybe one show a year IF that... especially now that my High School program is ramping up, there are projects that take all of my energy, and I don't have enough to be a part of the theatre community. And that's ok with me.

So if I leave out a major player in the theatre scene, forgive me, and add that person to the blog. Comment on my analysis. Argue with me. God, I love a good argument. Resisting... the urge... to quote Python... I don't really know Art Rockoff - it's a name I've heard, and I'm sure I've seen him in stuff, but somehow my experience has managed to elude working with him. Likewise Peg Pauly - I know she's a legend... I met her a few times... but I never really knew what she's legendary FOR, nor worked with her - she was largely before my time... so I'm going to narrate my experience in Bakersfield theatre, tell a few stories along the way, and try to analyze what I think all the history has brought us to. Please feel free to participate. Again, I welcome and invite the discourse - I mean no personal attacks, just what I hope to be an objective viewpoint on reality - I strive for the objectivity of the truth. Don't we all? Help me find it... please... I would appreciate the help...

Here we go...

It's always a trip to me when I stop and think back... see, originally, I wasn't an actor. I was a musician. I played violin, drums and piano. Don't ask me to play any of them today though - the only one I can even fake is drums, and anybody can do that. In Junior High, I didn't take theatre as an elective. I took band and choir. I was an honor choir singer, before my voice changed. In 7th grade we did a musical called Teen... I still remember the choir director - Julie Shorten. There were six leads in the show - a major lead and two supportings for each gender. The other five leads went to 8th graders - I was the only seventh grader cast in a lead, and I got the main male lead. It's interesting to note that one of the supporting male leads was played by Matt Lindsay - that's where he and I met, and where the interweaving cycles of our careers began. He went to Actis, I went to Thompson, here in Bakersfield. I got my master's in education and teach theatre, he's pursuing his master's in acting in Florida right now, and he's going to actually do it. You'll hear his name a few more times, particularly in this blog, I assure you.

So thanks to Julie Shorten, I got into theatre. That's when I was bit. And in 8th grade (most of which I skipped, by the way). But if I remember correctly, I delved into local theatre because of a girl. Yeah, I know - who doesn't? But Diane Spies was HOT. She went to Actis, so I only saw her in rehearsals. Somehow, I found out she was auditionning for Peter Pan... so I did too. BCLO's production of Peter Pan... I auditionned, and was awarded the role of...

The crocodile.

Because I was exactly 6 feet tall in 8th grade, and I fit the costume.

Bakersfield Civic Light Opera/Bakersfield Music Theatre/Stars:

They're the big dogs in the theatre scene today. Remembering that my perception is flawed, BCLO, which later became BMT was started in the early 70s by a group of educators, including now assistant superintendent of personnel Jim Fillbrandt and South High staff members Elaine Jameson (former principal, now retired) and Ron Steinmann. BCLO has historically staffed itself with members of the educational community: Jon Johanssen is a mainstay of the theatre, and has been teaching for the district for years. He was Captain Hook in the production I was in. Bruce Saathoff, one of the mainstream directors of the theatre was a teacher, then district union representative, and now he's a consultant to the California Teacher's Association. The connection between BMT and KHSD has always been strong. Many in the community are suspicious of that connection because the crossover usage of resources seems suspect. BMT uses Bakersfield High School's Harvey Auditorium for a high dollar season, and are constantly facing criticism that they get preferred treatment, that there's something shady about the finances between BMT and KHSD. Especially considering the well-publicized financial woes of the BMT main plant at Chester & 20th. This suspicion came to a head last year when a newly elected board member (Chad Vegas) raised those suspicions and forced through an audit of the theatre and its executive director (Fillbrandt). Fillbrandt was cleared of all suspicion by an independent auditing company, however. I'll leave the conspiracy theorists to pick up from there...

BCLO converted to BMT sometime in the 90s, I think. And just to clear up any confusion: BMT and Stars are the same organization. I'm not precise on the intricacies of the business structure, so I'll more than likely get some details wrong, but I believe Bakersfield Music Theatre is the overall business umbrella, and they produce under that title at the Harvey. Stars is the subsidiary name of the company, used to promote ONLY the shows the theatre does at its main plant on Chester. The Gordian Knot that Stars faces is that the plant costs of producing at the Stars space are astronomical. Most of the people that run this theatre are very tired - they feel they've seen it all and tried it all, and they are of the opinion (which is somewhat founded) that they dominate the market share. The patronage of Stars includes some of the wealthiest movers and shakers in Bakersfield, and the executive board of BMT is masterful at raising money. But that's the constant cycle - the theatre ALWAYS needs money, and so the people in the theatre are always RAISING money. You stand on the outside and you think they have an ivory tower, because of the size of the plant, their advertising budget, their patronage, their production budget, but the reality is that BMT faces the SAME obstacles as the other theatres, just on a much larger scale.

BMT draws a lot of criticism because of their xenophobia - they have a marked philosophy about not sharing audience patronage, there are always rumors about the fact that if you work for BMT, you can't work for anyone else, but if you put yourself in their shoes, the mindset starts to make sense. You've been at this for more than 30 years. You've seen other theatres come and go. You've built a business model that allowed you to build a customer base of the city's financial elite. You may be scraping by, but you're scraping by on a large and impressive scale, and you've worked hard and long to get what you have. You want to see the theatre continue to thrive and grow, and you give go aheads to people that can bring in shows that fit around the standard season without disrupting the paradigm you know. You think you've seen it all - and you may have - so when people come to you in the spirit of community, asking you to share what you've worked so hard for, not because they want to take it from you, but because they honestly believe that a unified theatre community will thrive a lot more than individual theatres working separately and tearing at the scraps of the audience pool - when those people come to you, well, it sounds nice and all - but it's too big of a risk to take, considering how long and hard you've worked and what you've acquired over that time.

But like it or not, BMT has the largest profile in town. They know that musicals sell, and they know that comedies can sell if done well. To a large degree, BMT is synonymous with theatre in the mind of the consumer in this city (Spotlight is challenging that perception, but BMT is deeply ingrained in the community). I've held for quite some time that if you want to see theatre in Bakersfield grow under the current model, you have to contribute to BMT. It's a tough theatre to break into (figuratively), as there's a group of mainstays that are consistently there for the health of the theatre, and if you want to rise in the ranks, you'd better have a demonstrable skill that they need, or you'd better be willing to pay your dues.

By the way, that's how I ended up directing It Runs In The Family last year... I'm under no illusions that I was the first choice. I'm lucky if I was the 4th or 5th choice... but the fact of the matter was that they needed someone to direct the show who knew something about comedy. A lot of people weren't available. I was. It was the end of the school year, and my instincts screamed that I was too busy, and that I shouldn't do the show. But I'd been talking the philosophy on supporting BMT to see theatre grow, and I figured I'd better walk the walk when the opportunity presented itself. So I took the job.

BMT has recognized their stagnating pool, and are taking active steps to refresh it. To bring in new blood. And that's the facet of the community that challenges them - they have the resources and the profile... but they're fighting a war of attrition when it comes to talent. They have some genius talents working there, but they get tired... they take breaks... and as some move out of the community, BMT has less and less to draw from as that cycle continues.

It looks as though they've isolated themselves in that briar-surrounded ivory tower though. It looks like they've guarded their resources so carefully that now that they might actually need something, it's a lot tougher to pull that NEW resource in. When the directors of the theatre were more idealistic, they had sheer force of will to surmount those problems... today, it seems much more tiresome, and much less rewarding.

Again, I'm not looking to attack, and my perception is certainly not empirically correct. This is how I interpret the world I see.

I still think that under the current paradigm, the growth of Bakersfield theatre hinges on the success of BMT. The more quality work the theatre does that creates positive buzz and word of mouth, the more the word theatre in Bakersfield will become synonymous with a positive evening experience.

BMT = Bakersfield Theatre = whatever the perception of BMT's value cost is (and we'll get back to value cost later, in another blog).

I will say, I saw Fiddler on the Roof a couple weeks ago. It was great. Best thing I've seen them put on (yes, including It Runs in the Family).

I just realized how long this is going to be, based on my essay about BMT. So I'm going to break the history into a series. I'm stopping here, and going to Mimi's for a muffin. Mmmmmm... muffin... yummy... mmmmmm... alliteration...

-Rob Long

http://www.myspace.com/lightningtempest

longsword@cox.net

June 15th, 2006

There's a new hilarious Zowietown episode, starring a frisky hip producer/director/promoter of BIFF Version 1.5.



Go check it out and have a laugh.

Then go to tonight's BIFF premiere from 8-11pm at the Spotlight Theatre.

Take a look at the new Noveltown



Support local art!

You can catch "Bakersfield: Life As It Should Be" this weekend at the Empty Space. It's the art show all about where you live! Experience art exhibits, bands playing music, the comedy of Blacklist, and much much more! Check out the "Life As It Should Be" Gallery (click here) for more pictures and listen to Bakersfield Theatre Radio for an in depth conversation with show curator A.S. Ashley.

We caught the closing weekend of BCT's One Acts. What fun! View all of the pictures in the gallery by clicking here.

He goes on to explain that we were all given cans of silly string so that we can shoot them when we are offended (or simply feel like shooting someone with silly string). Will the audience go for it?

The audience responds by covering the man with string. Throughout the night, I and the rest of the audience were subjected to dirty, wonderfully hilarious comedy. And the cast was subjected to facefulls of silly string. Check out the picture gallery (link here) for all of the RAT pictures we took this weekend. (Those below and much much more).

Also, listen to this week's podcast for a fun interview with RAT Matt Friedrichson.

What exactly is happening in this picture? Go to the Empty Space this weekend to find out.

These guys are funny as hell...

The Aftermath...

Aaron Mauldin of Theatreaddict.com is trying like crazy to take a Bakersfield theatre scene and get his arms around it, digest it, and spin its balkanized incestuous soul into something digestible, easy to navigate, and worthy of perusal with real honest-to-goodness bodies in the seats.


A scene from Amadeus at the Spotlight theatre.
Just who is kissing who behind the scenes?

But are bodies going to local theatres? Are people even viewing his addiction website by the bushel loads?

Maybe. Maybe not.

I doubt if local thespian and high school theatre instructor Rob Long. A.K.A The Logic Bomb agrees, even though the not-so-controversial Mauldin posted Long’s myspace blog article, "Performer-Audience Rapport" that declares all forms of theatre are dying. The peaceful and fence-strattling Aaron could have put his own dastardly comment there that agreed or disagreed with Long. I wouldn’t have minded.

The theatre scene is already split apart like Baskin Robbins flavors, why not speak your mind?

.................................click here to read the full article on nlbelardes.com..............................

Tune in to Bakersfield Theatre Radio for an exclusive interview with BIFF Master Roger Mathey.

Bakersfield Independent Film Festival v 1.5

at the Spotlight Theatre
presented by seat of your pants Productions

seat of your pants Productions brings back the BIFF with a slight upgrade! Featuring lots of new material submitted and some of the best from the first festival!

Here is the tentative line up for the Bakersfield Independent Film Festival v 1.5
(schedule subject to change as more submissions are approved)

Friday night:

8:00pm:
Short film: "Richard" dir by Tyler Spiers :10
Starring young Bakersfield actor Richard Van Horne as that creepy kid next door...
www.blueribbonpanel.org

Music Video: "Nailed Again" dir by Jarad "Meathead" Mann :05
Starring local DJ Rocky Nash

Short film: "Medicated" dir Jason Sanders :04
Starring Amanda Klawitter and Jason Sanders
www.hecticfilms.com

Music Video: "Tonight" dir by Jarad "Meathead" Mann :05
Starring local band Midnight Panic

Television show: "Damaged TV" episode "The Bit Show" :30
From Meatydish Produktions and starring Desi and Meathead

Music Video: "Babes" dir by Jarad "Meathead" Mann :05
Starring local band Krotch

Short Film: "Naked Twister" dir Roger Mathey :40
From seat of your pants Productions and starring local actors Justin Zachary, Libby Letlow, and Andrew McCarty

Feature film TBA

Saturday:

11:00a:
Animated Short: "Fresh Fish" dir Rod Lester :05
Short stop motion film about the great sport of catching a fish...
contact stepintime@juno.com

Short film: "Stupid Heroes" :11
Starring local actor Richard Van Horne as one of a trio of young super heroes having to deal with their worst enemy: girls.

Short film: "Hide and Seek" dir Rusty Rhodes :10
From local production company Tell the Story Productions comes a tale about a boy who learns the importance of seeking God.

Short film: "Day In the Life" dire Michael Prince and Bob Cloud :20
From the Kern Child Abuse & Prevention Council with Rare Wisdom Productions comes this short about the life of a young boy having to take care of his family as his single mother works to support them.

Feature Film: "Bubba & Sissy Git Hitched?" dir Mark J Wilson 1:43
from Actis Productions and Cindehunden Productions comes a film about gettin' hitched in Bakersfield.

3:00p
Short film: "Karma Police" dir Rickey Bird Jr and Amanda Klawitter :04
From Hectic Films comes this tale of how things can come back to bite you in the behind.

Music Video: "Embalm You" dir by Jarad "Meathead" Mann :05
Starring local band The Filthies

Short film: "The Drive Home" dir Kyle Watson :17
Two brothers deal differently over their father's death on the way home from the funeral.

Short film: "Disposable" dir Mark J Wilson :22
Ever find one of those disposable cameras and it still has some pictures on it... wait til you find out what it was taking pictures of!

Documentary: "The Last Days of BLaM" dir Bill Ohanesian :25
This documentary about the 70's band BLaM features local musician David Nigel Lloyd

Feature Film: "TV Party Tonight" dir Scott Cheshire 1:10
This interesting feature is a compilation of tv images throughout television history

7:00pm
Music Video: "Better Off" dir by Jarad "Meathead" Mann :05
Starring local band Presence

Short Film: "The Badge: Episode 1" dir Jason Sanders :10
from Hectic Films comes this story of detectives in Bakersfield

Music Video: "Soul Damage" dir by Jarad "Meathead" Mann :05
Staring loca band Soul Damage

Trailer: "Daft" from Hectic Films

Trailer: "At 11:00" from Lennon Film Productions

Feature Film: "Youthanasia" dir Mark and Greg Runnels 1:11
Featuring local actor Justin Zachary this tale of disturbed youth also features The OC's Shannon Lucio

There will be several other surprises and showings as well and the schedule is not finalized.

Cost for this event is $5.00 for each three hour block or $10.00 gets you into the entire festival.

The Spotlight Theatre is located at 1622 19th Street, downtown Bakersfield.

Call 661 634 0692 for more information or to make reservations

This is part 1 in a multi-part series of discussions on the state of live theatre in Bakersfield by local thespian and educator Rob Long. It is our shared purpose that this series should inspire dialogue and improvement in the areas discussed and be contructive in nature. You can contact Mr. Long on myspace by clicking the link in his name above. If you would like to publicly contribute to this discussion, feel free to email your thoughts to me at aaron@theatreaddict.com

(Disclaimer: This blog is not meant to be inflammatory. I am not trying to start any flame wars, or stir the pot with any of the parties that may be discussed in this series. Some of the statements may be controversial, and you may disagree with them. They are not meant to be personal attacks, and I'd appreciate it if, if you choose to respond, that you not make any personal attacks by way of rebuttal... That said, I invite healthy, open discussion and debate that is intended to diagnose problems, become aware of the strengths and flaws of Bakersfield theatre, and actually develop realistic shared ideals about where to go and how to improve the arts community here in our corner of Oklahoma West. This blog is meant to be positive and constructive. Help a brotha out here.)

So, I did a scene a few weeks ago, against the backdrop of the Empty Space's production of Last Meeting of the Knights of the White Magnolia. Their set includes a big wooden cross with lightbulbs in it, and we used it in a scene where we crucified Mr. Wizard. The scene's hard to explain, but during it, I ended up playing an audience member who decried the evolution of television as taking the live theatre experience out of the hands of the public. I made a speech on audience member - performer dynamic and rapport, and even though Chan called it "preachy," several people named that scene as their favorite of the show, and a couple people asked me to say more on the subject. So that's where this rant comes from.

Funny thing - I also had a conversation via IM with a friend back in October over the topic of local theatre - it would have made a great Prologue to this entire series... but when I asked him if I could publish it, he said no... and last month he said "I should have let you publish that." Argh. Ah well... maybe he'll chime in here...

Enough stalling.

Live theatre is dying. Entertainment is ubiquitous, and with technology advancing, there is less and less reason to leave the environs of our own homes. When we can make our home into a theatre quality experience, without the distractions of annoying audience members, poorly focused projectors, bad sound systems and whichever chair we choose to sit in, what is the point in going to even a movie theatre, much less a live theatre performance?

Live theatre is a tertiary choice for entertainment. We're not even second rate at this point - we're third rate. The first line is the home entertainment experience. As box office numbers indicated through all last year, interest in the movie theatre experience is faltering, if not fading. We used to make sure to see certain movies big and loud, on the monster screen, but now we can stay at home and have a similar, and more comfortable experience. So between television programming, DVR, DVD, our own kitches, our own couches, and the comfort of doing or saying whatever we want - our home is the location of choice for entertainment these days.

Second choice is the movie theatre. It's big. It's loud. It's a great escape, as long as people aren't talking too loudly, or kicking your seat, etc.

There are so many reasons to choose home entertainment or the movie theatre - you can flip on the TV and get free entertainment any time - why pay? Television and movies generally have high-quality actors, professionally written stories, and production value you can count on - where does live theatre compete against this? Where is the need for the product?

This is a marketing question that we are failing to address on its most basic level. There is no demonstrated NEED for the product in the marketplace, and without trying to CREATE a need for the product, live theatre will continue to see diminishing returns. The main people that go to shows these days, particularly here in Bakersfield are 50 ... look around at the crowds you see in the theatres you attend. Most of the crowds are people who grew up valuing live connection more than technology. Today, we are indoctrinated into TV, Movies, and the Internet, and insulated from the connection between audience and performer by the technology.

One of the reasons I wanted to write this series was an article that appeared in the Californian, last year I think, in which Danielle Belton talked to Jim Filibrandt, Emily Thiroux, David Lollar, and a few other people. While I like Belton's writing, the column inch limitation of the print media kept that article from being terribly in depth, and when Lollar made some comments regarding the theatre community, people took offense, and we all found ourselves unable to explore the issues. Now I'm not looking to light that firestorm again - I just want to dig deeper, go further, and honestly get a dialogue going that stands a chance of making the theatre and artistic community flourish in this town - to ingrain live performance in the necessities of the culture - to create the marketing NEED that makes people understand why they should flock in droves to see live theatre before they shell out nine bucks to see the latest crappy popcorn muncher at the movie theatre.

Lollar spoke about audience development - how for every dollar spent on production, he would also spend a dollar on audience development. And in the furor over whether or not artists are emotional people, with very incestuous sexual experiences within the community, trading significant others and whatnot, that EXTREMELY important point was lost.

Our audience does not understand why they should support live theatre. We have not created a need in this community for it. And therefore, our audience is a limited pool, divided shallowly between theatres, and diminishing while we all fight and claw for a larger share of that pool. The real estate market is booming - houses are going up and people are moving here in record numbers. So why doesn't any of that translate to the live theatre industry?

Marketing. Audience development. Creating the need. Sadly, most of us artistic types don't know how to do that. We know how to put on a show, but in the past, having a business mind about running our theatres has come second to artistic integrity, and that is a recipe for diminishing returns and ultimate failure. But we'll get into that later - it's a debate Jamie and I have been having for over 15 years - I'll get back to it.

There is one thing that live theatre has that no other theatrical entertainment form has, and it is SO easy to explain to people.

As you may have surmised from the title of the blog, the strength we have, that should be the prime focus of our marketing effort should be the rapport, the live vibe between audience and performer. We cannot defend the questions of cost, quality or convenience - certainly we lose on most of those (in general - the Empty Space has solved the cost issue, certainly), and trying to convince someone that the quality of what they will see is higher than movies or television - regardless of the fact that sometimes it IS - is like trying to sell blocks of ice to Eskimos.

But - if our attempt to sell our product was focused on that one strength that we inarguably have over all competition, we might break through. It cannot be argued that the live connection between audience and performer is a valuable thing - an irreplacable thing, a thing that cannot be duplicated. Television and movies don't respond to the rhythms of the audience - they are simply a product to be consumed. Theatre is a living, breathing thing, and - without focusing on the fact that theatre makes the audience member active, because many audience members don't WANT to be involved or think (you have to coax them to that) - audience members CAN be convinced that there is something more electrifying about connecting with a performer live than seeing one on tape.

Most people won't get this concept. The criminal part is that it's terribly easy to explain. I've explained it to high school kids, that then showed up at shows and enjoyed what they saw.

"Who's your favorite band?" (Anticipatory set, hooks the student - in this case the potential audience member.)
"Foo Fighters." (Or whoever. The answer is irrelevant, and simply serves to invest the student in the conversation.)
"Ever seen them live?"
"Oh yeah!" (If this question creates an emotional response, your audience member is primed for your close... If the answer happens to be "No," you can steer them towards ANY live act that they enjoyed. If the mark has NEVER seen ANY band live, they probably aren't potential audience anyway - cut your losses and go on to the next potential client.)
"So you know the difference between listening to a CD and seeing the band live?"
"Uh-huh." (You can even engage them in a conversation detailing the differences, to help make your point.)
"It's the same difference between TV and live theatre. You can feel what's going on when the performer is there, actually in front of you, just like at a concert."

It works. It does. Once you've created the need - once you've put live theatre on the map in a way the audience member understands, your likelihood of them showing up to your show has increased dramatically.

The rapport between performer and audience is invaluable. Comedy on TV vs. comedy live - which are you more likely to laugh at? Rapport can't be replaced.

And we don't focus on it as a motivator in the marketplace - when it is our greatest advantage.

If we don't cultivate new business by focusing on our strengths and reaching our target markets, live theatre will die out entirely, except in the places where the industry is based - New York, LA, etc.

I'll leave it there. As always, I welcome and invite healthy, positive, constructive discussion of the issue. And if you're not a theatre person? Your input is at LEAST as valuable - because YOU'RE the audience we're trying to reach. Why DON'T you go to live theatre?

Talk to me.

.

-Rob Long

http://www.myspace.com/lightningtempest

longsword@cox.net

June 15th, 2006

Standing Room Only presents, "God's Trying To Tell You Something." It's been almost 16 years since this show shook up the nation with rave reviews, standing ovations, and sold out venues across the country! Written, produced, and directed by Delilah Rashell Williams. With special guests Vernon Chappel and the Bakersfield Community Choir. The show evokes every emotion, tears, laughter, thanksgiving, hope, and faith. A live stage experience for the whole family. Come join in the live taping of the show for a national t.v. premier. Don't forget it's also a great gift for Father's Day!


Listen to the latest episode of the TheatreAddict.com Podcast for an exclusive interview with Teri Nicholson, the local representative for this fabulous musical.

This week on TheatreAddict.com we're offering you a preview of the next couple of weekends at The Empty Space. This trio of events include "Die Mommy Die," RAT's "Summer Lovin" Show, and the art exhibit "Bakersfield: Life As It Should Be."

Listen to the new episode of Bakersfield Theatre Radio (#13) for a full preview of these events and more, featuring exclusive interviews with A.S. Ashley, Kevin Lively, Adam from Blacklist, and David Rock from RAT.

Bakersfield has major talent. In the last two weeks CSUB gave us TWELFTH NIGHT, BCT had BEST LITTLE WHOREHOUSE IN TEXAS and the Gaslight Melodrama opened THREE MUSKETEERS. All were great in their own way and the talent and commitment of the actors in each show was fantastic. Bakersfield is lucky to have these theaters as well as The Empty Space and Stars to give us the opportunity to see so many kinds of theatre and to be entertained in so many different ways. Take the time to see shows each theatre. Your support leads to more opportunities for actors and theatre techs and that is always a good thing.

-Carla

I'd like to introduce you to our new correspondent, Margie Custer! Margie is a local writer with a passion for art in Bakersfield. She will be linking up to TheatreAddict.com from time to time to share articles about local performing arts. Enjoy her review of CSUB's "Twelfth Night" and look for more from her in the future!



The Dore Theatre opens Twelfth Night on May 18. The play provides something for everyone: a love triangle, some pranksters, some mistaken identities, and humor. The cast is accomplished, the set and costumes lovely, and the script…well, it’s Shakespeare. Who could go wrong with that?

A young woman of aristocratic birth, Viola, is shipwrecked and is swept upon the shores of Illyria. Believing that her twin brother is drowned at sea, she must seek employment on her own. After donning the identity of a young man, Cesario, she comes to work for Duke Orsino who is in love with the Lady Olivia.

Viola, as Cesario, gains the Duke’s confidence and is asked to convey messages of love to the Lady Olivia on the Duke’s behalf. Meanwhile, Viola has fallen in love with the Duke but does as she/he is asked. Lady Olivia hears the message but instead of becoming interested in the Duke, falls for Cesario, the young page.

The classic love triangle is set and as the troublesome relationships develop, Viola’s twin, Sebastian, shows up—it appears that he was not killed at sea after all. As the mistaken identities confuse everyone, the plot unfolds until its dramatic conclusion.

The storyline is fairly straight forward, and as long as the audience keeps in mind that Viola, dressed as a boy, unmistakably resembles her brother, everything should make sense. For play goers who are not avid Shakespeare fans, this one might be a good place to start.

Fulfilling the roles of Viola and Cesario is Toni Kerley. She is both charismatic and endearing as the young woman in love with her employer. Kerley is a junior at CSUB and a theatre major. Kerley performed last year in the musical, The Boy Friend, portrayed Agnes in Agnes of God, and has been both on stage and behind the scenes at the Gaslight Melodrama. She is performing in the Theatre Arts Department's traveling children's show, The Talking Stick.

Max Goodwin is commanding in the role of Duke Orsino, displaying the proper mixture of arrogance and self-absorption of the character. Goodwin majors in French but is not a stranger to the stage. He played Torvald in A Doll's House, directed by Ms. DuPratt a year ago.
Kelly Morris graduates this year as a Theatre Arts and English major. She skillfully handles the part of Olivia with all of the character’s aristocratic style and self-indulgence yet a young woman’s eagerness for love. Morris has been in 11 shows at CSUB, as well as singing in the Music Department’s opera. Most recently she was in The Boy Friend and A Doll's House.

The part of Maria is expertly executed by Leia Espericueta. She brings an exuberance to her mischievous character and brightens the stage with her presence. Espericueta is a theatre major (graduating in June) who was awarded a full scholarship for MFA in the acting program at the University of Wisconsin in Madison. Portraying Electricidad in Electricidad last fall and Nora in A Doll's House, she is a talented actress with much experience behind her.

Paul DuPratt is wonderful in the part of Sir Toby. From sword fights to inebriated stagger, he is both believable and a pleasure to watch. Graduating in 1982, he is a CSUB alumni and now serves as one of the theatre faculty. He also possesses a MFA in Acting from Cal Arts and has worked in the industry for over ten years. Mr. DuPratt has performed in several CSUB productions as a guest artist; last year he performed in Proof.

A real entertainment treat is Francisco Aragon who portrays Malvolio. Aragon’s interpretation of his character provides some of the most humorous moments of the play. Although he is a Political Science major, he has a strong interest in the stage having performed in The Boy Friend and becoming a playwright as well. His play Make-Up was staged last quarter as part of the Theatre Arts Department's student original one-act plays.

Paul Sosa, a junior at CSUB and a theatre major, is delightful as Feste, the clown. Combining gymnastics, dancing, and singing along with a lyrical reading of his lines, Sosa’s execution of his part enlivens the stage. He performed last year in The Boy Friend and has been in several of the CSUB's traveling children shows.

Max Jacobs portrays Violoa’s twin brother, Sebastian. Michael Pawloski plays Sir Andrew, another would-be suiter to Olivia. Dashawn A. R. Clark plays Antonio, loyal friend to Sebastian. The rest of the cast is played by Todd Marion Jr., James Ray Sechler, Fabian Euresti, Michael Mejia, Danvir Grewal, and Amy Echeverria. Marcy Dow works as stage manager and Professor Michael Flachmann serves as the dramaturge.

The director is Anita DuPratt who is retiring after 25 years of teaching at CSUB where she has chaired the Performing Arts Department for six years and the Theatre Department for three years. Her accomplishments include directing over 30 productions at CSUB, numerous other directing positions at local theatres, and recently receiving the Kennedy Center/American College Theatre Festival Gold Medallion for Excellence in Theatre Education.
Anita DuPratt brings her wealth of experience to a talented group of actors and the result is magic. Well worth the cost of admission, this production promises to deliver an enjoyable evening.

Evening performances are on May 18-20 and 25-27 at 8 pm, and a single matinee is offered on May 28 at 2 pm. The show runs 2 hrs plus a 10 minute intermission.
Tickets are $10 for General Admission; $8 for Sr. Citizens, CSUB Faculty and Staff; $5 for students and children. The box office opens 1 hour before curtain time. Reservations can be made at 654-3150. For additional information call 654-3127.
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Margie Custer has been a southwest resident for the past 27 years. As a writer she has been a regular contributor to the Northwest Voice, has had articles printed in The Bakersfield Californian and Bakersfield Magazine, and has been a winner in the Writer’s Weekly 24-hour Short Story Contest. She is a member of the Writers of Kern and enjoys writing all different kinds of fiction, poetry, and plays.